限景．施富錡 A Journey of the Soul Shih Fu-chi

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目 錄 Contents

限．景 ─ 施富錡個展

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創作自述

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施富錡 簡歷

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自思系列

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凝窒空間系列

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生活物語

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景 ． 限

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施 富 錡 個

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【限・景】為藝術家施富錡在當代藝術館實驗空間的個人首展，本展融合了傳統陶瓷的材料技法， 現代藝術的形式美學和當代創作的議題呈現。 「限」意指一個「圈定的範圍」或一種「有止之境」， 本展指涉了人類生活中有關時間或空間的各種制約，呈現人在無形的框架之下，面對壓力而作的 不同選擇和對應，因而造就了視野與心境上不同的景象。藝術家藉由創作實踐，將生活與環境中 種種限制下的感受轉化為作品，將作品當作個人生命文本的註記、詮釋與回視。

施富錡的創作動機，源自近年來個人家庭生活的經歷與變化。本次個展，他藉由第一展間呈現《自 思系列》作品，闡釋「家」的精神概念，以及「家人」所象徵的認同與安全感。進入展場最先看 到的〈生活物語 II〉陶瓷壁面裝置，造型結合了嬰兒奶瓶和兒童彩色畫筆的雙重意象，以活潑歡 愉的調性，鋪陳了藝術家初為人父的喜悅之情。接著呈現的主要展品，一是牆面上以二十五件方 形陶雕組合而成的〈觀我〉壁面裝置，透過制式抽象的彩色框架，呈現一個個五官被擠壓變形的 個人面容，探討了外圍空間對內在心境的宰制關係。二是以立體化的陶塑人像組作〈表象 I〉和 〈表象 III〉等。如同寫日記或生活隨想一般，《自思系列》註記了藝術家個人因外在環境 / 生活 模式的改變，而跟著產生的各種內心波動。

第二展間的《凝窒空間系列》，主要展品包括兩件壁面裝置，和一件大型空間裝置。這三件作品 都應用到了「蛞蝓」與「蝸牛」這個獨特的造型體和象徵物。在〈餐點〉裝置中，大大小小的陶 瓷蛞蝓，三五成群地攀附在青瓷圓盤中，以看似「盤中飱」的姿態和陣容，指涉了無殼蝸牛族的

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苦楚和抗爭；〈炒手〉結合了從漆黑到艷彩的各式人手，演出弱勢的單體被炒家操控擺佈的大型 默劇。本展最大的一件空間裝置〈覓〉，以成百上千的白色小蛞蝓，群聚在如超高樓房的黑色大 方柱四周地面，對比的場景和戲劇氛圍，也彷彿是近年各種群眾運動的縮影。這個作品系列，見 證了藝術家初入社會後，伴隨著結婚生子之樂和安身立命之需，而四處尋屋找房的心情波動和精 神焦慮。事實上，這些作品寓藏的疾俗與憤世之情，已從個人的情緒表達延伸至一種社會批判的 姿態和意義了。

【限・景 ─ 施富錡個展】，除了體現藝術家以物喻事的創意觀念和表現手法，也同時抒發、宣洩 了作者個人和四周社會人共同的內心澎湃及感觸。

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A Journey of the Soul is Fu-chi Shih’s first solo exhibition at MOCA Studio. The exhibition integrates traditional ceramic techniques, aesthetics of modern art and issues of contemporary artistic creation. The Chinese word, “xian,” means “a prescribed area” or “a limited realm.” This exhibition refers to all kinds of confinement related to time and space in human life; it represents that, within an invisible framework, when facing stress, people would make different choices and come up with various coping mechanisms, which create dissimilar landscapes in vision and in the frame of mind. Through the making of art, Shih has transformed into artworks his feelings stimulated by the restrictions in life and those of the environment, rendering these works a form of personal notes, interpretations and reexamination of his life.

Shih’s creative motivation originates from the experiences and changes in his family life. Therefore, in this exhibition, he has displayed Reflection Series : the concept of “home” as well as the recognition and the sense of security symbolized by the “family members” in the first gallery. Entering the room, one will see first a ceramic wall installation, entitled Tales of Life II , which integrates the images of feeding bottles and children’s colorful brushes, demonstrating the artist’s happiness of being a first-time father with a lively, joyous tone. The following principal works: one is a wall installation, Self-viewing , which consists of 25 square pottery sculptures, individually showing a face with crushed features—a piece that explores the environment’s domination of the inner realm. The other work is a set that includes Surface I and Surface

III , which are three-dimensional pottery head sculptures. Similar to writing diary entries or jotting down some thoughts in life, Reflection Series marks the artist’s inner fluctuations resulting from the changes in the exterior environment or lifestyle.

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Room of Oppression Series in the second gallery is primarily comprised of two wall installations and one large spatial installation. These three works all employ the unique forms and symbols of “slugs” and “snail shells.” In the installation, Meals , ceramic slugs in various sizes attach to celadon porcelain plates in small groups, turning themselves into “meals on the plates” while implying the suffering and struggle of people that cannot afford to buy houses. Manipulation I is a work that combines all kinds of human hands in black and vivid colors, staging a large-scale pantomime about disadvantaged individuals manipulated by real estate speculators. The largest spatial installation, Searching , makes use of hundreds of small white slugs clustering on a gigantic black, skyscraper-like square column. The scene of contrast and the theatrical intensity seem to epitomize all the mass movements in recent years. This series embodies the artist’s emotional fluctuations and anxieties coming from the need of searching for a house and settling down after getting married and having a baby as a full-grown adult in the society. As a matter of fact, the cynical view on this world embedded in these works has transformed and expanded from the expression of personal feelings to a kind of social critique.

A Journey of the Soul—Solo Exhibition by Fu-chi Shih embodies the artist’s creative concept as well as expressive method to use objects as metaphors. While voicing and releasing his personal feelings, it also provides an outlet for the agitation and stirring emotion of the public.

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創 作 自

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/施 富 錡

藝術創作者，對於生活中一切的人、事、物，總會時有所感觸而激發創作的欲望，藝術創作的行 為成為內心感受的出口，透過創作者的思考與轉化，運用文字、符號、色彩、聲音、行動等組成 具體的實踐創作行為，將其內蘊的深厚情感與意義傳達於外。有時藝術的創作行為是一項回應於 生活狀態的詮釋，生活以食、衣、住、行為四大基本需求，生活中的種種體認與感受皆來自於這 四項所延伸出的狀態，感受已流逝的時間，豐富日常的生活記憶，關注生活過程與當下細膩的變 化後，進而轉化成為對不同議題的回應，無論是關注社會與人文的議題，或是生活環境的議題… 等，這些種種的議題，都成為在藝術創作與表現的原點素材。

本次展出作品的創作的靈感，起始於對自我生活的體認，來去在工作場所與家庭的生活空間，教 學工作現場、工作室的創作環境、家庭生活的空間，三種場域情境的切換，在生活中所扮演的角 色不斷地轉換著，感受空間的界限、時間的有限、情緒的極限，這些限制時時刻刻影響著我的情 緒和思緒。

思尋「限」的單字解釋，它意指著指定的範圍、止境。此範圍可以是在空間或時間上。而空間或 時間的限制，足以影響人的視野與心境，在被限定的範圍內，彷彿是有個無形的框架，人在這些 框架底下，面對限制而產生的壓力，選擇不同的應對，造就了情緒與心境上不同的景象透過省思 構成了「限・景」一詞並且加以延伸思考，藉著進行實踐創作的行為，將生活中種種限制下的感 受純化為作品，以作為對生活事件的詮釋與回應。同時以「限・景」作為本次的展覽名稱。

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m en t In face of people, events and things in the daily life, a creative artist will always be motivated by the desire to translate his feelings into a piece of artwork. Creative behavior in art becomes an outlet for his inner feelings, of which the creative process involves inner feelings, thinking, converting, using of such media as words, symbols, colors, sounds, voices and acts, and finally composing. Through the process, he may convert his profound inner emotions and feelings to the outer physical work of art. As often as not, artistic, creative behavior is a rendition in response to the daily life which includes the four basic needs of food, clothing, housing and transport. All the personal experiential realizations and feelings in the daily life derive from the needs or their extension. For example, feeling the passage of time, enriching memory of daily life and observing the living process with its delicate changes—they will be further transformed into responses to varied issues ranging over society, humanity, living environments, etc. Such varied issues turn out to be original raw materials for artistic creation and performance.

The creative inspiration of the works on display originated from my personal experiential realization on the daily life, shuttling to and fro between the workplace and family living place. The switches among the three spaces of school teaching, studio working and family living have behooved me to change my role playing again and again. Feeling the bounds of space, time and emotions, I have been affected in my moods and thoughts all the time.

To my thinking, the Chinese word “xian (limit)� means a defined range or a bound in either space of time. The limit in space or time is sufficient to influence human vision and state of mind. Confined by the

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limit that acts like an invisible frame, people will feel the pressure, thus choosing varied responses to counteract it. This leads to various views in emotions and the state of mind. Through deep reflection, I came to constitute the term of “xian jing (bounded views)”. By extension in thinking, I have purified what I felt under various restrictions in daily life into my works with the aid of creative behavior in practice.

Consequently, my works are tantamount to my interpretations and responses to the events encountered by me in the daily life. Therefore, this exhibition came to be named “Bounded Views” in Chinese. All the works on display involve my soul searching, so this exhibition is also known as “A Journey of the Soul” in English.

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of 歷 e 簡 ta 錡 Vi 富 um 施 ul hi ic -C rr Fu Cu ih Sh

1978 生於台灣彰化 美國北伊利諾大學 藝術碩士 國立新竹師範學院 教育學士 現任 玄奘大學 藝術與創意設計學系 專任助理教授 兼 系主任 國立新竹教育大學 藝術與設計學系 兼任助理教授

個展 2015 2014 2011 2010 2008 2006 2005

「限•景」，台北當代藝術館，台北 「嬉遊記」，新竹教育大學 竹師藝術空間二館，新竹 「See·繫」，玄奘大學 藝文中心，新竹 「心牆」，北伊利諾大學藝術學院，214 畫廊，伊利諾州，美國 「內在物件」，北伊利諾大學藝術學院 A.W.O.L.L 畫廊，伊利諾州，美國 「田野記形」，台北花旗銀行，台北 「陶然自得」，朱銘美術館 第二展覽室，台北

聯展 2014 2013 2013 2012 2012 2011 2011 2010 2010 2009 2009 2008 2008 2008 2008 2007 2005 2004 2004 2004 2004

木布轉金・漆彩玻陶，工藝教授文創聯展，台中文化創意產業園區 文化．創意．設計 學術研討會暨作品展，新竹玄奘大學 新竹市玻璃技藝傳習展，新竹市玻璃工藝博物館 創意與創新設計學術研討會創作展，新竹玄奘大學 國立新竹教育大學藝術與設計學系系友聯展 – 合流，新竹教育大學 第十屆 藝術家博覽會，台北 新台灣壁畫隊 移地創作計畫，台北當代藝術館 藝術新秀競賽展，北伊利諾大學 Jack Olson 畫廊，伊利諾州，美國 生活關係 - IV，春季特展，Water Street 畫廊，伊利諾州，美國 北伊利諾大學研究生競賽展，Jack Olson 畫廊，伊利諾州，美國 研究生集展，北伊利諾大學藝術學院 214 畫廊，伊利諾州，美國 國際 Orton 溫錐盒展覽，貝克大學，堪薩斯州，美國 年度陶藝會議競賽展，彼茲堡藝術中心，賓州，美國 偽照的山形，芝加哥 Beverly 藝術中心，伊利諾州，美國 置出與置入，北伊利諾大學美術館，伊利諾州，美國 北伊利諾大學研究生競賽展，Jack Olson 畫廊，伊利諾州，美國 台灣美術新貌展，台中港區藝中心 竹塹美展，新竹縣文化局 南瀛美展，台南縣文化局 玉山美展，南投縣文化局 靜觀．冥想，台灣科技大學畫廊

典藏 2006 2005 2005

作品 田野記形 #9 獲台北花旗銀行收藏 作品 田野記形 #7 獲國立台灣美術館典藏 作品 女人香 獲國立新竹師範學院典藏

獲獎 2009 2008-2009 2007-2009 2005

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北伊利諾大學年度傑出研究生獎學金 北伊利諾大學藝術學院 John X. Koznarek 獎學金 北伊利諾大學藝術學院 陶瓷工坊研究助理獎學金 榮獲 李澤藩藝術教育獎學金

1978 Born in Changhua County M.F.A., Northern Illinois University, U.S.A Bachelor of Education, National Hsinchu Teachers College Currently a full-time assistant professor and Department Head, Department of Art and Creative Design, Hsuan Chuang University A part-time assistant professor, Department of Arts and Design, National Hsinchu University of Education

Solo Exhibitons 2015

A Journey of the Soul, Museum of Contemporary Art, Taipei

2014

Very Fun Journey, NHCUE Art Space II, Hsinchu

2011

See. Tie, HCU Art Center, Hsinchu

2010

Invisible Wall, School of Art, NIU, IL, U.S.A

2008

Internal Object, A.W.O.L.L Gallery, NIU, IL, U.S.A

2006

Sights of Field, Citibank, Taipei

2005

Carefree Happy and Contented, Juming Museum/ Gallery II, Taipei

Group Exhibitions 2014

Craft Show, Taichung Cultural and Creative Industries Park

2013

Culture•Creativity•Design Conference and Exhibition, Hsuan Chuang University

2013

Glass Technique Show, Glass Museum of Hsinchu City

2012

Creativity•Innovation Design Conference and Exhibition, Hsuan Chuang University

2012

Come Together, National Hsinchu University of Education’s Alumnus Show

2011

Tenth Artist Fair, Taipei

2011

Formosa Wall Painting Group off-site Painting Project, MOCA

2010

Annual Juried Blick Art Materials- Arts Nova Exhibition, Jack Olson Gallery, School of Art, NIU, DeKalb, IL, U.S.A

2010

Relationship with Life IV- Honorable Mention in the Spring show, Water Street Gallery, Batavia, IL, U.S.A

2009

Annual Juried Graduate Exhibition, Jack Olson Gallery, School of Art, NIU, DeKalb, IL, U.S.A

2009

Pip Up: A Collection of Graduate Works in Progress, School of Art, 214Gallery, NIU, DeKalb, IL, U.S.A

2008

International Orton Cone Box Exhibition, Baker University, Baldwin, KS, U.S.A

2008

Ceramics Regional Juried Exhibitions, Pittsburgh Center for the Arts, Pittsburgh, PA, U.S.A

2008

Mountain: a force of Faketure, Beverly Arts Center, Chicago, IL, U.S.A

2008

Unpacked/ Offset Exhibition, NIU Art Museum, DeKalb, IL, U.S.A

2007

Annual Juried Graduate Exhibition, Jack Olson Gallery, School of Art, NIU, DeKalb, IL, U.S.A

2005

Taiwan New Scope Fine Art Exhibition, Taichung County Seaport Art Center

2004

Chuchian Fine Art Exhibition, Cultural Affairs Bureau of Hsinchu County Government

2004

Nanin Fine Art Exhibition, Cultural Affairs Bureau of Tainan County Government

2004

Yahsin Fine Art Exhibition, Cultural Affairs Bureau of Nantou County Government

2004

Contemplation and Meditation, National Taiwan University of Science and Technology

Collected by 2006

Sights of Field #9, collected by Citibank

2005

Sights of Field #7, collected by National Taiwan Museum of Fine Art

2005

The Beauty, collected by National Hsinchu Teachers College

Awards 2009

Outstanding Graduate Student Award: Northern Illinois University Fellowship

2008-2009

John X. Koznarek Memorial Endowed Scholarship, School of Art, NIU

2007-2009

Graduate Assistant, Ceramics studio, School of Art, NIU

2005

Lee Tze-fan Art Education Scholarship

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Reflection Series

本系列為藝術家對生活情感的體會，作品多以懸掛於壁面的方式 表現，利用點、線、面造型構成原理，傳遞作品的表現張力。同 時，以自塑像為語彙，抒發個人在面對空間的氛圍改變時，在心 境上所產生的影響，探討著空間與個人自我心境上的相互關係。

This series is derived from artist’s experiences with everyday emotions. Most of the art works from the series are displayed on the wall, with the artworks’ dynamism conveyed through structures based on the point-line -plane composition. Based on self-portrait sculptures, this series is also inspired by the artist’s internal changes when faced with alterations in his existing space. It examines the interconnected relationship between space and personal state of mind.

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自思系列 - QR code 雕塑陶土、化妝土、釉 25x25x10 cm / 2014

《QR code》 作 品， 觀 眾 經 掃 描 藝 術 家 自 塑 像 上 的 QR code 後， 將 會 連 結 到 Facebook 有關於《限・景》展覽的訊息， 這件作品仰賴著科技軟體所提供的便捷性來 使其完整。

Reflection Series- QR code Sculpture Clay, Slip, Glaze 25x25x10 cm / 2014

QR code contains a QR code which is embedded on a self- portrait sculpture of the artist. When the code is scanned, it connects to the Facebook page for the exhibition, The Journey of the Soul , with the artwork’s completeness.

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自思系列 - 淨 雕塑陶土、化妝土、釉、琉璃 45x28x10 cm / 2014

《淨》則結合陶土質樸厚重的特性與琉璃晶 瑩剔透的質感，透露藝術家內心所期待的敬、 靜、淨，以期許心無雜念隨遇而安，心境如 同琉璃般透淨明亮。

Reflection Series- Pureness Sculpture Clay, Slip, Glaze, Lazurite 45x28x10 cm / 2014

Pureness is a piece that combines clay’s earthy and robust qualities with lazurite glass’s pristine characteristic. It reveals the artist’s aspiration for respect, tranquility, and purity, with hope of achieving an undisturbed and peaceful inner state, and a pristine lazurite- like state of mind.

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自思系列 - 觀我 雕塑陶土、化妝土、釉、鏡面不銹鋼 200x200x10 cm / 2014

《觀我》以扭曲變形的人臉形體鑲嵌於正方 規矩的外框，彷彿被框架強制囚禁、侷限著， 企圖去表達身處於壓力之中的身心狀況。

Reflection Series- Self-viewing Sculpture Clay, Slip, Glaze, Stainless Steel 200x200x10 cm / 2014 The piece Self-viewing is composed of contorted human facial shapes contained within square frames. Symbolizing forced confinement, the artwork is an attempt at expressing physical and mental states under distress.

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自思系列 - 表象 I、表象 II、表象 III 雕塑陶土、化妝土、釉 25x25x42 cm x 3 件 / 2014

《表象 I、表象 II、表象 III》為施富錡作為師者、創作者及父親三種 角色的內心呈現，臉部的表情輕鬆並帶有莊嚴的氣息，透露出探究 自我內心的修行行為。其中《表象 I》在敘述與記錄對教學工作的繁 雜情境，與自我內在調適。《表象 III》則是在抒發對家庭與養兒育 女的牽掛。

Reflection Series- Surface I, Surface II, Surface III Sculpture Clay, Slip, Glaze 25x25x42 cm x 3 pieces / 2014

Surface I, Surface II and Surface III are internalized portrayals of Fu-Chi Shih’s roles as a teacher, an artist, and a father. His internal meditative training is revealed by the relaxed yet also solemn facial expressions depicted on these sculptures. Surface I is a portrayal and record of his internal self-adjustment when dealing with complexities coming with his teaching position. Surface III is a release of the concerns that he holds for his family, especially with being a parent.

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Room of Oppression Series

本系列由個人生活的反思，延續至對社會現象的觀察。以自然界 中「蛞蝓」以及「蝸牛殼」兩種元素，作為主要的轉喻語彙，隱 喻人們不停地在尋求一處能長久安定、安穩入眠的住所。

Extending from his personal reflections on life to observations on social phenomena, this series utilizes two elements of slug and snail shell derived from nature, which are used as metaphors for people’s perpetual pursuit of a lasting and stable dwelling place.

凝窒空間系列 - 異種 雕塑陶土、化妝土、釉 140 x 60 x 15 cm / 2014

Room of Oppression Series- Xenogamy Sculpture Clay, Slip, Glaze 140 x 60 x 15 cm / 2014

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凝窒空間系列 - 覓 雕塑陶土、瓷土、化妝土、釉 依場地大小而定 / 2014

《覓》以擬真的造形，用誇張巨大化的方式， 希望透過蛞蝓、蝸牛殼這兩種語彙元素的外 在形式表現，隱喻現代人對於擁有一處住屋 的渴望，來暗諷「住」的社會議題。

Room of Oppression Series- Searching Sculpture Clay, Porcelain, Slip, Glaze Dimension Variable / 2014 The piece Searching is an exaggeration based on a realistic simulation, and the externalized expression composed of the two elements of slugs and snail shells is an analogy for modern people’s collective desire for owning a dwelling place, which hints at social housing issues.

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凝窒空間系列 - 餐點 瓷土、化妝土、釉 200 x 200 x 7 cm / 2014

《餐點》以典雅而高尚的青瓷盤代表財團富 豪，蛞蝓為一般平民百姓，兩者結合，呈現 出美味可口的蛞蝓大餐，象徵平民一直被財 團魚肉著，但卻渾然不覺地繼續生活。

Room of Oppression Series- Meals Porcelain, Slip, Glaze 200 x 200 x 7 cm / 2014 Meals is a piece composed of elegant and high-class blue-and-white porcelain plates, symbolizing corporations and the rich. Slugs are used to represent everyday commoners, with the two components joined together to present “a delicious feast of slugs”. It references people’s unawareness of corporate exploitations and manipulations, as they continue to live their lives in oblivion.

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凝窒空間系列 - 蝸居 雕塑陶土、化妝土、釉 50 x 25 x 10 cm / 2014

《蝸居》以蝸牛殼表達與思考個人的居所與 空間環境的關係，意喻現今集合住宅裡，每 個人僅能分配擁有著狹小的居住環境與空間。

Room of Oppression SeriesDwelling Narrowness Sculpture Clay, Slip, Glaze 50 x 25 x 10 cm / 2014

Dwelling Narrowness uses snail shells to represent the relationship between personal living spaces and the overall environment.

It hints at the narrow and confined living environment and space that is allocated to each person in today’s collective housing.

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凝窒空間系列 - 心景 雕塑陶土、瓷土、化妝土、釉 70 x 60 x 40 cm / 2014

Room of Oppression SeriesInternal Mindscapes Sculpture Clay, Porcelain, Slip, Glaze 70 x 60 x 40 cm / 2014

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凝窒空間系列 - 炒手 I 瓷土、化妝土、釉 依場地大小而定 / 2014

《炒手 I》以充氣的手套為造形依據，在其掌 心上擺放潔白的蝸牛殼，意諷刺「炒房」的 行為已成為社會中另類吸金的地產投資，妨 礙著原本單純關於「住」的民生需求。

Room of Oppression Series- Manipulation I Porcelain, Slip, Glaze Dimension Variable / 2014

Manipulation I is composed of inflated gloves with white snail shells placed on the gloves, which is a metaphor for real estate speculation. With real estate treated as money making investments by speculators, people’s simple everyday housing needs are impeded.

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凝窒空間系列 - 炒手 II 瓷土、化妝土、釉 60 x 40 x 30 cm / 2014

Room of Oppression Series- Manipulation II Porcelain, Slip, Glaze 60 x 40 x 30 cm / 2014

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凝窒空間系列 - 私密物語 雕塑陶土、化妝土、釉 依場地大小而定 / 2014

《私密物語》懸吊的繭為發想的物體造形， 延伸視覺觀賞動向，以探討被包覆的私密空 間，隱喻住所帶給人們的內在心境上的景象。

Room of Oppression Series- Intimate Stories Sculpture Clay, Slip, Glaze Dimension Variable / 2014

Intimate Stories is composed of suspended cocoons, and as visual perspectives are extended from these imaginative forms, it examines the subject of enclosed private spaces and makes the analogy to the internal mindscapes that dwelling places evoke in people.

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生活物語 II 瓷土、化妝土、釉 依場地大小而定 / 2014

《生活物語 II》充分展露出藝術家初為人父的 情感，以化妝泥彩繪眾多奶瓶造型的雕塑， 題材來自於育兒經驗帶來酸甜苦辣的生活滋 味。

Tales of Life II Porcelain, Slip, Glaze Dimension Variable / 2014

Tales of Life II from the series is a sculpture comprised of milk bottles colored with slip.

Inspired by the joys and blues of parenting, the artwork is an expression of the emotions experienced by the artist as a first time father.

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生活物語 V 瓷土、釉 依場地大小而定 / 2014

《生活物語 V》作品裝置眾多的手從牆面伸 張出來，演奏出為生活忙碌的樂章。

Tales of Life V Porcelain, Glaze Dimension Variable / 2014

Tales of Life V is comprised of several hands protruding from the wall, a playful interpretation of life’s hustles and bustles.

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生活物語 VII 瓷土、化妝土、釉 50 x 15 x 40 cm / 2014

《生活物語 VII》作品以鈕扣做為表現符號， 將木偶人如同公仔玩具重新組合，並重新建 構。

Tales of Life VII Porcelain, Slip, Glaze 50 x 15 x 40 cm / 2014 Buttons are used as the expressive symbol in Tales of life VII, with wooden mannequins rearranged and reconstructed like action figures.

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限．景 — 施富錡 藝術家

施富錡

發行人

莊正琪

執行編輯

辜詩吟

設計

Fritz LEE

攝影

陳文榮

出版

寶萊企業有限公司 新北市中和區中正路 440 號 2 樓 Tel 02-22406539

出版日期

中華民國一零四年十月 初版

國際標準書號 978-986-92247-0-3 版權所有 翻印必究

定價 新台幣 500 元

施

富錡